Lautner, John Edward (1911–1994)

Author(s):  
Bart Bryant-Mole

While the American architect John Lautner may not have considered himself a modernist, he nevertheless made a significant contribution to the branch of modernist architecture that emerged in Southern California during the mid-twentieth century, pioneered by architects such as Rudolph Schindler, Richard Neutra, and Frank Lloyd Wright. Though he was wary of being seen as an imitator of Wright, under whom he had worked as an apprentice for six years, Lautner’s work does reflect several of his mentor’s architectural principles, such as flowing space, harmony with nature, and site-specific designs. Lautner’s visually arresting buildings, however, took these ideas further than ever before. His ambitious projects, as well as being architecturally innovative, were feats of modern engineering. These daring structures stood in stark contrast to the minimal, machine-influenced International Style buildings that had dominated modernist architecture since the 1930s. Lautner’s residential projects, in particular, gained widespread attention through the photography of Julius Shulman, their appearance in Hollywood films, and their endorsement by the rich and famous of Los Angeles. While contemporaneous critics were divided in their opinions of Lautner’s work, he later achieved international acknowledgment and respect, and is now considered an important figure within the Mid-Century Modern design movement.

2012 ◽  
Vol 71 (1) ◽  
pp. 78-108
Author(s):  
Joseph M. Siry

Gunite, or concrete shot through a hose, helped to shape twentieth-century modernist architecture, yet its history is largely unwritten. In 1927–29 Richard Neutra pioneered the architectural use of Gunite in the Lovell House in Los Angeles. Frank Lloyd Wright praised Neutra's house, and he later used Gunite with a light steel frame in his Community Church in Kansas City, Missouri (1939–42). In Wright's next public commission, the Solomon R. Guggenheim Museum (1943–59) in New York City, he proposed that the great spiral gallery be wholly of Gunite set on a pre-stressed steel frame, in order to achieve his ideal of plasticity and continuity; the material was used to form the Guggenheim's exterior walls as built. In Seamless Continuity versus the Nature of Materials: Gunite and Frank Lloyd Wright's Guggenheim Museum, Joseph M. Siry narrates the manner in which the design of the Guggenheim's wood formwork, its joints, and the choice of its exterior coating challenged Wright and his collaborators to achieve a form for the spiral that was consistent with his aesthetic ideal.


Author(s):  
Jeffrey M. Chusid

<p>El artículo expone una breve descripción histórica ilustrativa del proceso de encargo, diseño y construcción de la casa con los bloques prefabricados característicos de la etapa californiana de Wright y de la vida posterior del edificio, centro neurálgico de la actividad de vanguardia artística de Los Ángeles, con sustanciales modificaciones llevadas a cabo por otros arquitectos afamados como Rudolph Schindler, Gregory Ain and John Lautner. En el texto se refleja no solo la tremenda complejidad técnica de restaurar esta casa erigida con un sistema constructivo sugerente pero tremendamente frágil y problemático y la dificultad añadida de su presencia en zona sísmica y los daños sufridos por el terremoto de Los Ángeles de 1994, sino también el dilema que surge a la hora de escoger eventualmente qué fase restaurar del edificio entre toda la estratificación de intervenciones de arquitectos estrella que caracteriza a este edificio.</p>


Author(s):  
John David Rhodes

Takes up the modernist house as it appears in films like A Star is Born (George Cukor, 1954), House (Charles and Ray Eames, 1955), and more recent films and moving image media such as The Anniversary Party (Alan Cumming and Jennifer Jason Leigh, 2001), A Single Man (Tom Ford, 2009), and Stephen Prina’sThe Way He Always Wanted It, II (2008). The chapter also considers a strange site of coincidence between modernist architecture and the movies: the house designed by Richard Neutra for the director Josef von Sternberg that then passed into the hands of Ayn Rand, who was also working in the film industry.


2009 ◽  
Vol 4 (1) ◽  
pp. 125-132
Author(s):  
Jan Wrana

The European reaction of the leading architects towards the period of international style, “The idea of style has yet again become up-to-date. The modern style, covering the whole world, is uniform and coherent...” [4], promoted at the exhibition “Modernist architecture” organized in Museum of Art in New York by architects Henry Russell Hitchcock and Philips Johnson, was immediate. The leading European architects: a) Walter Gropius wrote: “The aim of Bauhaus was not to promote one particular style...” [4], b) Le Corbusier formulated “Fundamental principles of aesthetics” [4], c) Bruno Taut wrote: “Five assumptions of new architecture” [4]. The message that “The form follows the function” became the very principle of modernism. The year 1972, when the blocks of flats in St. Louis, US were blown up, and the year of the actual end of the ideology originating from CIAM, is the agreed time marked as the end of modernism. It was a few years after Le Corbusier’s death (1965) - the death of the unchallenged spiritual ideologist of modernism.


1997 ◽  
Vol 56 (4) ◽  
pp. 438-451 ◽  
Author(s):  
Francesco Passanti

The modernist architecture of the 1920s, often referred to by the terms "machine aesthetic" and "International Style," has been seen as antithetical to the vernacular. Focusing on Le Corbusier, this essay argues that, to the contrary, the vernacular played an essential role in the construction of modernist architecture, as conceptual model for a notion of modern vernacular-one as naturally the issue of modern industrial society, and as representative of it, as the traditional vernacular of common parlance had been of earlier societies. Le Corbusier arrived at this notion by layering on each other several discourses concerning regionalism, folklore, and the more complex concept of Sachlichkeit (factualness), developed in Vienna and Germany at the turn of the century by such figures as Adolf Loos and Hermann Muthesius.


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